‘Sweet Savour’
Magnolia Studies.
My latest creation appears markedly different from my usual work upon initial inspection. My oil paintings generally vary from direct observations, often conducted en plein air, where I work without the luxury of extended analysis, to more playful explorations of composition and colour. My fascination with these broad themes is always on my mind when I paint, and lately, my attention has been captured by the integration of screen printing.
My inspiration originates from outdoor life, and direct observation serves as a valuable lesson, informing more contemplative studio practices. It is not tangential to mention that my faith and personal beliefs are pivotal in this, inextricably linked, in fact, and directly affects how I see nature.
The pattern of life, its rhythm, symmetry, and dynamism—from the smallest observations to the largest vistas —the crystalline nature of everything shouts in a unified declaration and speaks directly to my beliefs, enriching the whole experience.
Flora 1
The objective is always the same: not to become a copying device or somehow burdened to into a laboured and literal rendition. An abstraction is really all any artist can hope for, of something so wonderfully made. To be able to play and work intuitively and show a pattern of the real thing in a more expressive and personal way is what really feels liberating and joyful to me and carries the best hope of ending up with something fresh and new and alive.
Study of a Tree.
Because colour is in a perpetual state of flux, its appearance undergoes dramatic transformations depending on neighboring hues. It's this phenomenon of how we perceive colour that I find so interesting.
When applying these effects to a work, the benefits of a flat application of paint that screen printing provides ensure that the desired effect remains unaltered by ambient light hitting raised or painted surfaces. Secondly, it compels me to adopt a simpler, more abstract approach, utilizing templates for different colour passes and adhering to a predetermined palette.
‘Sweet Savour’ Serigraph. 40 cm x 70 cm on canvas.
James Murch.
The resulting work is a Magnolia, which I created over the Easter period. Its sweet aroma, pure white petals, and a center resembling a crown are used as a symbol of Jesus's crucifixion.
Violet is the colour of royalty while green represents new life. The sweet-smelling savour speaks of a perfect offering of sacrifice that would forever fulfill the demands of God's law, written on the tablets of our hearts, condemning us all. Man's attempts at righteousness fall short; religions trade in guilt, enslaving followers to a futile act of balancing good vs. evil. People accuse some while excusing others. A true and just God can only demand perfection. Jesus' crucifixion and resurrection made a perfect way for mankind to stand before God uncondemned. A payment made with God's own arm. This spring season is a reminder of the new life that is freely available to all who call upon his name. An unconditional love that transforms lives